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AMERICAN ART JOURNAL.
LIVES OF THE EARLY PAINTERS.
B7 MRS. JAMESON.
RAPHAEL SANZIO D'URBINO.
Born 1483, died 1690.
About this time Raphael painted that portrait
of Julius II., of which a duplicate is in puy Nar
ttonaV Gallery; No otie who has studied the'bis-
tbry of this extraordinary old man, and his rela-
tions with Michael Angelo and Raphael,, can look
upon it without interest. Another line duplicate
is in the gallery of Mr. Miles, at Leigh Court,
near Bristol. The original is in the Pitti Palace
Also at this time Raphael painted the portrait
of. himself, which is preserved in the Gallery, of
Painters at Florence; it represents him as a very
handsome young man, with luxuriant hair and
dark eyes, lull lips, and a pensive yet benign
countenance. To this period we may also refer a
number of beautiful Madonnas: Lord Garvagh's,
called the Aldobrandini Madonna; the Virgin of
the Bi'idgewater Gallery;! the Viergo au Diadeine
In the Louyre; and the yet more famous Madonna
drFpHgno, now at Rome in the Yatican.
While employed lor Pope Julius in executing
the frescoes already described, Raphael found a
munificent Mend and patron in Augustino Chigi,
a rich banker and merchant, who was then living
at Rome in great splendor. He painted several
pictures for him : the four Sibyls in the chapel of
the Chigi family, in the church of Santa Maria
della Pace— sublime figures, full of grandeur and
inspiration ; and, on the wall of a chamber in his
palace, that fresco the Triumph of Galatea, well
known from the numerous engravings.
About the year 1510 Raphael began the decora-
tion of the second chamber of the Vatican. In
this series of compositions he represented the
power and glory of the Church, and her miracu-
lous deliverances from her secular enemies, all
these being an indirect honor paid to, or rather
claimed by Julius II., who made it a subject oi
pride that he had not only expelled all enemies
from the Papal territories, but also enlarged their-
boundaries— by no scrupulous means. On the
ceiling of this room are four beautiful pictures—
the promises ot God to the four Patriarchs, Noah,
Abraham, Jacob, and Moses. On the four side
walls, the Expulsion of Heliodorus from the Tem-
ple at Jerusalem; the Miracle of Bolsena, by
which, as it was said, heretics were silenced; At-
tila, King of the Hons, terrified by the apparition
of St. Peter and St. Paul;, and St. Peter delivered
from Prison., Of these the Heliodorus is one of
the grandest and most poetical of all Raphael's
creations; the group of the .celestial. ;warrfor,
trampling on the prostrate Heliodorus, with the
avenging spirits rushing, floating along, air-
borne, to scourge the despoiler, is wonderful for
its supernatural powers; it is a vision of beauty
" and terror.
Before this chamber was finished, Julius II.
died, and Was succeeded by Leo X. in 1513.
Though the character oi Pope Leo X. was in all
Respects different from that of Julius, he was not
less a patrtih Of Raphael than his predecessor had
been; and certainly the number of learned and
accomplished men whom he attracted to his court,
and the enthusiasm for classical learning which
prevailed among them, strongly Influenced those
productions' of Raphael which date from. the ac-
cession of Leo. They became more' and more al-
lied to the antique, and less and'less imbued with
that pure religion spirit which we find in his ear-
lier works. ■''."■.
Cardinal Bembo, Cardinal Bibiena, Count Cas-
tigl;onc, the poets Ariosto and Sanamaro, ranked
at this time among Raphael's intimate friends.
With his. celebrity his riches increased ; he built
himself a fine house in that part of Rome called
the Borgo, between St. Peter's and the Castle of
St. Angelo; he had numerous scholars from all
parts of Italy, who, attended on him with a love
and reverence and duty far beyond the lip-and-
knee homage which waits on princes; and such
was the influence of his benign and genial temper,
that ai; those young men lived in the most entire
union and .friendship with him and with each
other, and his school was never disturbed by those
animosities and jealousies which before and since
have disgraced the. schools of art of Italy. All
the other painters of that time were the friends
rather than the. riyalstofj.the.supreme and gentle
Raphael, with the single exception of Michael
Angelo. ■ , .
About the period at which we are now arrived,
the beginning of the pontificate of Leo X., Michael
Angelo. had left Rome Cor Florence, as it has been
related in. his life. Lionardo da Vinci came to
Rome by the invitation of- Leo, attended by a train
of scholars, and lived on good terms with Raphael,
who treated the venerable old man with becoming
deference. Fra Bartolomeo also visited Rome
about 1513, to the great joy of his friend. We find
Raphael at this time on terms of the tenderest
friendship with Francia, and in correspondence
withtAlbert-Bureri'ibr wlWM" He* enterkitied 1 the
Under Leo X. Raphael continued his great
works* in the Vatican. He began the third hall
or camera in 1515. The ceiling of this chamber
had been painted by his master Perugino ior
Sixtus IV. ; and Raphael, from a feeling of respect
for his old mas:er, would not remove or paint
over his work. On the sides ot the room he re-
presented the principal events in the lives of Pope
Leo HI. and Pope Leo IV., shadowiug forth un-
der their names the glory of his patron Leo X.
Of these pictures the most remarkable is that
which is called in Italian LTnceudio del Borgo
(the Fire in the Borgo). The story says that this
populous part of Rome was on fire in the time of
Leo IV., and that the conflagration was extin-
guished by a miracle. In the hurry, confusion,
and tumult, of the scene; in the men escaping
halt naked; in the terrified groups assembled in
the foreground; in the women carrying water-
we find every variety of attitude and eVuollon, ex-
pressed with a ; perfect knowledge ot form; and
some of the figures cxh.bit the influence of Michael
Angelo's ceiling of the gisljme.Ch^peWikeady de-
scribed. This fresco, though so fine in point of
drawing, is the worst colored of the whole series;
the best in point of color are the Heliodorus, and
the Miracle of Bolsena.
The last of the chambers in the Vatican i3 the
Hall of Constantine, painted with scenes from the
life of that Emperor. The whole of these frescoes
having been executed by the scholars ot Raphael,
from his designs and cartoons, we shall not dwell
on them here/ only observing that ah excellent
reduced copy of the flnest of all, the Battle of Con-
stantino and Maxentius, maybe seen at Hampton
While Raphael, assisted by:his scholars, was
designing and executing the large frescoes in the'
Vatican, he was also engaged iu many other
works. His fertile mind. and ready hand were
never idle, and the number of original creations
of this wonueriul man, and the rapidity with
which they succeeded each other, are quite unex-
ampled. Amonghis most celebrated and popular,
compositions is the series of subjects from the Old
Testament, called '.'." Raphael's Bible;" these wore
comparatively small pictures, adorning the tblr-
•teen. cupolas of. the "Loggie" of, the Vatican. '
These ' ' Loggie." are open .galleries, irnnntngi'
round three sides, pf an open court; and the gal-
lery oh the second story is the one painted under
Raphael's direction. Up the sides and round the
windows are arabesque ornaments, festoons of
fruit, flowers, animals, all combined and grouped
together with the most exquisite, and playful fan-
cy. They have been much injured by time, yet
more by the barbarous treatment of the French
Soldiery when Rome was sacked in 1527, and
worst of all by unskilful attempts at restoration.
The pictures in the cupolas, being out of reach,-
are.better preserved. Sacred subjects were never
represented in so beautiful, so poetical, and so in-
telligible a manner, as by Raphael; but, as the;
copies and engravings of these works are innu-
merable, and easily met with, we shall not enter,
into a particular' description of them; very good
copies of several may be seen at the National-
School of Design at Somerset House.
There was still another great work for the Vat-
ican intrusted to Raphael. The interior of the
Sistino, Chapel had been ornamented round the
lower walls with paintings in imitation of tapes- .
tries. Leo X. resolved to substitute real drape-'
riesoi-the .most costly material j-and-Rapbael was. 1
to furnish the subjects and drawings, which were -
to be copied in the looms ot Flanders, and worked
in a mixture of wood, silk, and gold. Thus
originated the lainous Cartoons of Raphael.
They were originally eleven in number, to fit
the ten compartments into which the wall was di-
vided by as mariy plasters, and the space over the
altar. Eight were large, one larger than the rest, and
two small. '; Of the eleven cartoons designed by
Raphael, four are lost, and seven remain, which
are now in the Royal Gallery at Hampton Court.
As they rank among the greatest productions of
art, and have been for some time freely thrown
open to the public, we shall give a detailed ac-
count of them here from various sources, and add
some remarks which may enable the uninitiated
to form a judgment of their characteristic merits,
as well as to appreciate duly the privilege which
in a wise, as well as a right royal and°gracious
spirit, has lately been conceded to the people.
The intention in the whole series of subjects
was to express the mission, the sufferings, and
the triumph, of the Christian church. The Death
. of the. First Martyr, and Jhe Acta, .of ,the A\?p ; gr;eat ,
Apostles, St. Peter and St, Paul, were ranged "
along the sides to/the right and left, of ..the- high
altar; while oyer the altar was. the Coronationof
the Virgin, a subject which, as we have already
seen, was always symbolical of the triumph of re-
ligion. In the Original arrangement the tapestries
hung in the following order:
' On. the left of the altar— 1.. The Miraculous
Draught of Fishes, (that is, the Calling ot, Peter) ;
2. The Charge to Peter; 3. TheStohing of Stephen j
4. The Healing Of the La.meManj & TheDoath
btAnahias. ' ',,'
On the right of the attar-*-!. The Conversion of
St. Paul; 2. Eljmas .. atfuisk Bllu^^3. Pa.ul and
AMERICAN ART JOURNAL;
Barnabas atLystxa; 4. Paul preaching at Athens;
6. Paul in Prison. All along underneath run a
rich border in chiaro'scuro, of. a bronze color* re-
lieved with gold, representing on a smaller scale
incidents in the life of Leo X., with ornamental
arabesques, groups of sporting genii, fruits, flow-
ers, &c. ; : and the plasters between the tapestries
were also adorned with rich arabesques., Old en»
gravings exist of someof these designs, which are
among the most beautiful things in Italian art;
as lull ot grandeur and grace as they are exquis-
itely fanciful and; luxuriant. '■ : • ;i 'V
The large cartoons of this series which are lost
are, the Stoning of Stephen; the Conversion of
St. Paul; Paul in his Dungeon ' at Philippi; and
the Crowning ot the Virgin.
The seven which remain to us are arranged at
Hampton Court without anyregard eitberto their
original arrangement or to chronological order.
Beginning at the door by which we enter, they
succeed each other thus:
1. The Death of Ananias.
" Thou host not lied unto men, but unto God."— Acts 5.
Nine of the Apostles stand together on a raised
platform; St Peter in, the midst, with uplilted
hands; is in the act ot speaking; on the right
Ananias lies prostrate on the earth, wbileayoung
man and woman, on the lelt, are starting back,
with ghastly horror and wonder in every ieature;
io the background, to the left, is seen Sapphira,
who, unaware of the'catastrophe of her husband,
and the terrible fate impending over her, is paying
some money with one'hand; while' she withholds
some in the other; St.' John and another Apostle
are on the left, distributing alms. The figures
are^ltwge^er'^wsh^-fo'ur Of number. "•' Size*'
seventeen feet, six inches, by eleven feet, tour
,.Asa composition, considered artistically, this
Cartoon holds the first place; nothing has ever
exceeded it; only Raphael himself, in some oi his
other works, has equalled it in the wondrous
adaptation of the means employed to the end in
, view. By the circular arrangement of the compo-
sition, and by elevating the figures behind above
(hose in front, the -whole of the personages on the
scene are brought at once to sight. The elevated
position ot Peter and James, though standing
back from the foreground, and their dignifled.Sg-
ures, contrast strongly with the abject form 1 of
Ananias, struck down by the hand of God, help-
less, and, as it seems, quivering in every limb.
Those of tho spectators who are near Ananias ex-
press their horror arid astonishment by the most
various and appropriate expression.
"He falls," says Hazlitt, ',■ so haturaily, that it
seems as if a person could fall no other way; and
yet, of -all the ways in which a human figure could
fell, it Is probably the most expressive of a person
overwhelmed by, *andin the grasp i of divine ven-
geance. This is in some measure the secret of
Raphael's •success. Most painters, in studying on
attitude, puzzle themselves to find but what will
be picturesque, and what will be fine and never
discover it Raphael onl£ thought how a person
would stand or fell under such' or such circum-
stances, and the picturesque arid the. fine followed
as a matter orcbhrse. Hence the unaffected force
and dignity jot' his style, which are:'only anotbe ",
name for truth and nature under impressive and
momentous'circumstatices." : '"" •
We have here an instance of that truly Shak-
spearian art by which Raphael always softens arid
heightens the effect of tragic terrbrJ St. Jonn.'at
the very instant when this awful judgment has
lallen On the hypocrite and unbeliever, has be-
nignly turned to bestow alms and a blessing on
the poor good inan before him.
2. Blymas the Sorcerer struck with Blind-
, "And now, behold, tho band of the Lord is upon thee,
and thou Shalt be blind, : not seeing the sun for a season.
And immediately there fell on him a mist and a darkness;
and he went about seeking some to lead him by the hand."
AcTSlSsll. . . .„ ,.,,- .,.,: r -. [ . i , -,i
: The Proconsul Sergius; seated on his throne;
beholds with astonishment Blymas struck Mind
by the word ot the Apostle Paul, who stands on
the left; an, attendant is gazing with wonder in
his face, while eight persons behind him are all
occupied with the miraculous event which is pass-
ing before their eyes; two lictors are on the left;
in all fourteen figures. Size, fourteen feet, seven
inches, by eleven feet, four inches. ' .
This cartoon, as a composition, is particularly
remarkable lor the concentration of the effect and
interest in the one action. The figure' of St. Paul
is magnificent; while the crouching, abject form
of Blymas, groping his way, and blind even to
his finger*ends, stands in the midst, and on him
all eyes are bent. The manner in which the im-
pression is graduated from terror ^down to indif-
ferent curiosity,, wh£e one person explains the
event to another by means of gesture, are among
the most spirited dramatic effects Raphael ever
3. The Healing op the Lame Man at the
Beautiful Gate op the Temple.
, "Then Peter said, silyer and gold! have I.none,. but ,suoh
as I have k give unto thee. And he toot him by the right
hand and lifted him up."— Acts 3: 6, 7.
Under the portico of the Temple of Jerusalem
stand the two Apostles Peter and John ; the former
is holding by the hand a miserable, deformed crip-
ple, who gazes up in his face with joyful, eager
wonder; another cripple is seen on the lelt.
Among the people are seen conspicuous a woman
with an infant in her arms, and another leading
two naked boys, one of whom is carrying two
doves as an offering. The wreathed and richly-
adorhed columns are imitated from those which
have been preserved for ages in the church of St.
Peter, as relics of the Temple of Jerusalem.
With regard to the composition, Raphael has
been criticised for breaking it up into parts by
the introduction oi the pillars; yet, if properly
considered, this very management is a proof of
the exquisite taste of the painter, and his atten-
tion to the object he had in view. Adhering to
the sense of the passage in Scripture, he could
not make all the figures refer to one principle ac-
tion, the healing of the cripple; he has, therefore,
framed It in a manner between the two columns;
aridbythe groups introduced into I the other two
divisions he has intimated that the people were
entering the temple " at the hour of prayer, ; being
the ninth hour." It is evident, moreover, that
had the shafts been perfectly straight, according
to the severest law of good taste in architecture,
the effect would have beeh extremely disagreeable
to the eye; by their winding form they harmonize
with the manifold forms of the moving figures
around, and they illustrate, by their elaborate ele-
gance, the Scripture phrase, " the gate which is
called Beautiful. " The' misery, the distortion, the
ugliness of the cripple; are made' as' striking as
possible, and contrasted with the noble head ^ri3
form of St. "Peter, and the benign 'features of St.
John. The figure of the young woman with her
child is a model of feminine sweetness and grace;
it is eminently, perfectly Raphaelesque, stamped
with his peculiar sentiment and refinement. The
bright open sky seen between the interstices of
the columns harmonizes with the lightness, cheer-
fulness, and happy expression of these figures.
In the compartment where the miracle is taking
place, there is the same correspondence of effect
with sentiment; the, subdued tight of the lamps
burning ih.th.e.^epth ot r the recessaccords .well
with. the. reverential feeling excited by the sacred
transaction. Many parts of this cartoon have un-
fortunately been injured, and much of the thar-
mony destroyed, yet it remains one of the most
wonderful .relics of art now extant.
4. The Miraculous Draught op Pishes.
••■When Simon Peter saw it, ho fell down at Jesus'
knees, saying, Depart from me, for I am a sinful man, O
Lord."— Lole 5: S.
On the left Christ is seated in a bark, in theact
of speaking to St. Peter, who has fallen on his
knees before him; behind him is a youth, and. a.,
second bark is on the right. Two men are busied
drawing up the nets miraculously laden, while. a .
third steers. On the s'lore, in the foreground,
stand three cranes.; and in lie distance are seen
the people to whom Christ bad been preaching
out of the ship or boat. In this cartoon the com-
position is very beautiful; and the execution,,
from, its mingled delicacy, power, and precision,
is supposed to be almost entirely fr&m Raphael's
own hand. The effect is wonderfully bright In
the broad, clear daylight, and against the sky,
the figures stand out in strong relief. ' The clear
lake ripples round the bark, and the figure of the
Saviour, in the pale blue vest and white mantle,
appears all light, and radiant with beniflcence.
The awe, humility, and love, in the attitude and '
countenance of St. Peter, are wonderfully expres-
sive. The masterly drawing in the figures oi' the
apostles in the second boat conveys most strongly
the impression of the weight they are attempting
to raise. In the fish and the cranes, all painted
with exquisite and minute fidelity to nature, we
trace the hand of Giovanni da Udiue. These
strange, black birds have h<=re a grand effect,
"There is a certain sea-wildness about them, and
as their tood was fish, they contribute mightily to
express the atlair in hand"; they are a fine part oil
the scene. They serve also to prevent the heavi-
ness which that part would otherwise have had,
by breaking the parallel lines which would have
been made by the boats and base of the picture."
5. Paul and. Barnabas at Ltstra.
"Then the priest of Jupiter which was before their city
brought oxen and garlands unto the gates, and would
have done sacrifice with the people; which, when th«
apostles Barnabas and Paul heard of, they rent their
clothes."— Aois 14: 13, U.
On the left Paul and Barnabas are standing be-
neath a portico, and appear to recoil from the in-
tention of the townsmen to ofier sacrifice to them;
the first is rending his garment and iebuking a
man who is bringing a ram to be offered. On the
right, hear the centre, is seen a group of the peo-
ple bringing forward two oxen; a moth is raising
an axe to strike one of them down; his arm is
.held back, by a youth, who, having observed, the
abhorrent gesture ot Paul, judges that the sacri-
fice will be offensive to him. In the foreground
appeal's the cripple, no longer so, who is clasping
his. hands with, an expression of gratitude; his
cratches lie useless at his feet An old man,'
AMERICAN ART JOURNAL.
raising part of his dress, gazes with a look of as-
tonishment on the restored limbs. In the back-
ground, the forum of Lystra, with several temples.
.Towards the centre is seen a statue of Mercury, In
allusion to the words in the text: "And they
called Paul, Mercurius, because he was the chief
As a composition this cartoon is an instance of
the consummate skill with which Raphael has
contrived to bring together a variety of circum-
stances so combined as to make the story per-
fectly intelligible as a passing scene, linking it at
the same time with the past and the succeeding
time. We have the foregone moment in the ap-
pearance, of the healed cripple, and the wonder he
excites; in the furious looks directed against the
apostles by some of the spectators we see tore-
shadowed the persecution which immediately fol-
lowed this act of mistaken adoration. Every
part of the groupings, the figures, the head, both
in drawing and expression, are wonderful, and
have an infusion of the antique and classical
spirit most proper to the subject. The. sacrificial
groupof the ox, with the figure holding its head,
and the man lifting the axe, was taken from a
Soman bas-relief which in Raphael's time was in
the.yilla Medici, and the idea varied and adapted
to his purpose with infinite skill. The boys piping
a,tthe altar.are fuli of beauty, and most gracefully
contrasted in character. The whole is lull of
movement and interest.
. 6. St. Paul PEEACHnra at Athens.
. " Then Paul stood in the midst of Mars' Mil, and said,
Ye men of Athens, I peroeive that in all things yo are too
superstitious. I"or as I passed by and behold your devo-
tions, I found an altar with this inscription, To the un-
known God."— Acts VI: 22, 23,
' Paul, standing on some elevated steps, is
preacning to the Athenians in the Areopagus; be-
hind him are three philosophers of the different
sects, the Cynic, the Epicurean, and the Platonic;
beyond, a group ol sophists disputingamongeach
other. On the right are seen the half figures of
Dionysius the Areopagiteandthe woman Damaris,
of whom it is expressly said that they " believed
and clave unto him." On the same side, in the
background, is seen the statue of Mars, in front
of a circular temple. In point of pictorial com-
position, this cartoon is one of the finest in the
series. St. Paul, elevated above his auditors,
grandly dignified in bearing, as one divjnely in-
Spired, lolty in stature and position, " stands like
a tower." This figure of St. Paul has been imi-
tated from the fresco of Masaccio in the Carmine
at Florence. There Paul is represented as visit-
ing St. Peter in prison. One arm only is raised,
the forefinger pointing upward; he is speaking
words of consolation to him through the grated
bars ot his dungeon, behind which appears the
form ot St Peter. Raphael has taken the idea of
the figure, raised the two arms, and given the
•whole an air of inspired energy wanting in the
Original. The persons who surround him are not
to be considered a mere promiscuous assemblage
of individuals; among them several figures may
each be said to personify a class, and the different
sects of Grecian philosophy may be easily distin-
guished. Here the Cynic, revolving deeply, and
fabricating objections; there the Stoic, leaning
on his staff, giving a steady but scornful atten-
tion, and fixed in obstinate credulity; there the
fflsciples of Plato, not conceding a full belief, but
pleased at least with the beauty, of the doctrine,
and listening witii gratified attention. Further
on 1b a promiscuous group of disputants, sophists,
and freethinkers, engaged in vehement discussion,
but apparently more bent on exhibiting their own
ingenuity than anxious to elicit truth or acknowl-
edge conviction. At a considerable distance in
the background are seen two doctors of (he Jew-
ish law. The varied groops, the fine thinking
heads among the auditors, the expression of curi-
osity, reflection, doubt, conviction, faith, as re-
vealed in the different countenances andattitudes,
are all as fine as possible; particularly the man
who: has wrapped his robe around him, and ap-
pears buried in thought. .,. "This figure also is
boraowed from Masaccio. The closed eyes,
■which in Masaccio might be easily mistaken tor
sleeping, are not in the least ambiguous in the
cartoon; his eyes, indeed, are closed, but they
are closed with such vehemence that the agita-
tion of a mind perplexed m the extreme is seen at
the first glance. But what is most extraordinary,
and I think particularly to be admired, is that the
same idea is continued- through the whole figure,
even to the drapery^which, is so,., closely muffled
about him, that even his hands are not seen. By
this happy correspondence between the expres-
sion of the countenance and the disposition of the
parts, the figure .appears to think from head to
To be Continued.
-•'■- — — — v > 't m " > < —
TRANSLATED FOR THE PRESS.
BY 1. R.
After r six months of anxious expectation, we
have, at last ; been. admitted-, to view the famous
aquarium of the Boulevard Montmartre, where,
for the small sum of two francs, we had the pleas-
ure of gazing at forty gudgeons, in a glass globe,
performing swimming feats in the most approved
style. Nor is this all, for besides these forty
gudgeons, that we had to pay a cent apiece for
admiring, we saw a real live carp, two soles
not fried, which we blamed exceedingly for ex-
posing themselves to public view, without their
accompanying condiments, three eels and a num-
ber of skates, without parsley or butter, and sev-
eral lobsters, whose only fault was, not to be
quite done enough.
Everything else there, was splendid, for in-
stance, we noticed, in another globe, a small sea
monster (called la pieuvre, *) hiding in the crevi-
ces of an artificial rock.
While we were at the aquarium, this wonder-
ful being was not to be seen, it seems that some
familiar friends is needed to give strangers an in-
Among the visitors some persons who had
been to see the mechanical head at the "Music
Francais," seemed to doubt the existence of this
animal and affirmed that it was made ot india
rubber, and that its legs moved through the
agency of a galvanic battery. This is not sO.
It is true nevertheless, that if a mechani-
cal head can be -made so as to. speak,
oil sorts of animals might be, gotten up in
the same way. It is said that there ex-
ists in some out of the way place in Germany, a
wooden horse, which is soon to make its appear-
ance in Paris. This mechanical courser can out-
run the Gladiator himself, it rears, it kicks, and
jumps, and down goes its rider in spite of him-
Manufacturers of automatons are wrapped in
mystery, they call to mind the supernatural crea-
tions of Hoflman; we can imagine the artist liv-
ing in an old house in Muremberg, hiding his
Works with jealous Care from the eyes of the vul-
gar, and planning, after having completed his
^•AUusiontothe nondescript animal mentioned in V.
Hugo's <• TraTaiUeurs de lamer."^ "»">«oa»o in v.
first marvel, another one greater still; after the"
prancing steed, the speaking head, and after*
these, a man who will be sent to parties, and be'
able to dance the •' Cancan "at the Cassino " Ca-
det " for three trancs a night.
Why should it not be?: Once the ball setir*
motion, wby should we stop? An epoch which
brings forth a living human head wfthout a body,-
may produce anything, and we will soon get up
young men to people pur deserted parlors. For
ton francs per night we maybe abfc to hire au>
tomatic waltzers, who for an extra sum of twa
francs will play k whist with, ladies .of, ascertain of
uncertain age, rather, and lor twenty francs, we
will have a nice young man to lead a cotillion
We are convinced that a day will come whon
the caterer who furnishes flowers, lights, etc, for*
parties, will also be called upon to furnish au-
tomatic guests; and thism our opinion, is the
only way to restore, to our aristocratic circles,
the gayetj that once distinguished tbem, for
since our youth and nobility have taken to bad
company and prefer gambling to conversation, it
has become next to impossible to procure real
living waltzers; and if some steps are not taken
to help to rebuild our society in the- Faubourg St,
Germain The chroniclers of Parisian High"Life
will soon find their occupation gone.
We are positive that ff an enterprising trades-
man were to undertake to let out mechanical
guest, he would realize a fortune rapidly, and 1
would moreover, be entitled to the blessings of
Should this happen, all that would be neces-
sary, when about to give a party, would be to*
call upon an upholsterer, and dialogues of this
sort would take place.
Tradesman,— Did you send for me, madam ?
Lady,— (about to give a reception) Yes, sir,-
I wish to give a party to-morrow, and I want'
you to supply me with afl that is necessary.
Tr,— Well, Madam, will tou please tell me how
many automatons you will want ?
L. — About a dozen,
Tr. — Do you think that will be enough ?
L,— Yes, with my friends included? I think I
can about fill my parlor,
Tr,— Well, ma'am you can make your own se-
L. — Have you any new figure*?
Tr. — Oh yes, we have some belonging to alf
classes of society, and we charge accordingly.
For Frenchmen five francs per evening, for for-
eigners, a little more, and I have, amoug the rest
an American General Who was very much ad-
mired at Mme. de F's last ball,
L.— I should like him, by all means,
Tr.— I am really very sorry, but he is engaged
for a whole month. I can let you have, however,
a Prussian General.
L.— How much do you want an hour for him J"
Tr. That depends on his uniform. Undress,
ten francs; full dress, fllteen francs; and if you
want him complete, with all his decorations, I
can't afford to let you have him for less than
twenty-five francs per evening,
L.— Can he speak French ?
Tr.— Oh I certainly, ma'am, and can relate the
battle of Sadowa in. all its ..details,: .. » , •
L.— Well, I'll take your Prussian General.
Tr.— -Anything else ma'am, wouldn't you like a
few ambassadors, I have a remarkably fine
Cochin Chinese, made of india rubber, and who
at the last soiree of Countess Z was the
observed of all observers? . -
L.— Yes I think I heard of him.
' Tr;— Well I supplied her with him and I shall
keep him for you. Now, let me see? I shall
send you, then, the Genera), the Cochin Chinese
and a dozen waltzers. I mast state to you,
howeyer, that I hold you responsible for any
damages, for at the last ball given by Baroness
P ■ ■■ my best light-haired dandy danced so
much that the main-spring was broken. Don't
you want two or three singers J
L.— No, I think ndt